Sequence 4 (interior): William’s room, with friend, an actress, who brings him coffee, apples and a cake (for his saint's day). She admires the view, towards Le Salève (a mountain in France that overlooks Geneva). References: She sings the first two lines of Goethe's 'Der König in Thule' (see full text here)

Sequence 9 (exterior): William steals book from lakeside seller, walks past men unloading a lorry

Sequence 10 (interior): Manuela, with guitar, singing the same song in a different arrangement, in tv office; William comes in for the key to her apartment

Sequence 11 (semi-interior): bateau-restaurant on the lake: William meets woman (Noëlle Laurencin)References: William tells Copi’s story of the snail and the old lady; then talks about the death of the hare in Renoir’s La Règle du jeu

Sequence 12, insert: Manuela leaving her apartment. (All of the paintings and drawings in Manuela's apartment are by Genevan artist Pierre Vogel, whose studio this is.)

Sequence 13 (exterior): on the jetty, William and Noëlle

Sequence 14 (exterior then interior then exterior): place des Charmilles, outside the Migros supermarket: William and Noëlle, watched by Michel Vogel, the trainee detective; in the supermarket, William steals champagne; then William and Noëlle in the streets towards Manuela’s flat (15, rue du Mont Blanc)

Sequence 15 (interior): Manuela’s flat, William and Noëlle, drink tea in the kitchen then go into the living room (Noëlle can’t have sex because she has her period; she dances in front of the painting of 'Madame Röntgen', the complete womea; William slaps her)References: William asks Noëlle to read an extract from Henri Barbusse’s L’Enfer (here)

Sequence 20 (exterior): Jussy: country road, William on a bicycle; he calls on Noëlle, they talk in the grounds of Noëlle’s house (n.b. zoom out); then William in the country road again

Sequence 21 (interior then exterior then interior): on the way back from Jussy, William wets his face in toilets, then goes into the Café Marcelly (Thonex): interviewed for the radio (n.b. jump cut)

Sequence 22 (exterior then interior; three shots, one before the insert , two after): after getting a lift home (where’s the bike?), William in his flat; INSERT (interior): Noëlle on the landing outside Manuela’s flat, man trying to get to sleep; References: William sings (in French), smashes up his flat, recites lines from Camus’s play Caligula (here); William writes ‘nada Nadja’ on the window; says ‘merde à tout’

Sequence 30 (exterior then interior): Vogel and Noëlle, outside, near modern flats and in the ruined firework factory (zoom out)

Sequence 31 (semi-interior then exteriors then semi-interior): Vogel and Noëlle, in William's flat, then on balcony; then Vogel chases William; waste ground, Vogel, then Noëlle;William goes back to flat; on his balcony, looks at camera

This last image appears as a still on an office wall in Soutter's next film, Haschich (1967):